Solo Rep Suggestions?

I'm a Music Education Masters student, but I'm choosing to continue to study privately and be active in the university orchestra. I was wondering if you all could give me any suggestions for solo rep to work on in the next few semesters.

Last semester I worked primarily on the Koussevitsky Concerto, just the first movement, to give an idea of playing level. Honestly, I'd rather have rep that's a bit more readable, if that makes sense. I had never attempted a concerto before, and I think I probably should have tried something a bit less meaty first! I'm not going to be performing on anything more than an informal recital, so I'm just looking for a few things that would be enjoyable to work on.

I am looking to do another concerto at some point, but I'd like suggestions from any category. Also, if the sheet music is available on IMSLP that would be a bonus. Thanks in advance!

Bach Suites? Pick your movements carefully, don't just start at the beginning. The *last* movement of the 1st suite is quite playable, and there are other relatively straightforward ones. Bach is always musically difficult, even if not always technically difficult.

The Eccles Sonata is very approachable. Hindemith less so, but the 1st movement isn't so difficult.

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the Bottesini Elegy (in D, though there are two others) is around the level you're talking about. +1 for the Eccles as well. You might want to look at one of the classical concertos as well, maybe the Dittersdorf or the Vanhal. They're a lot of fun to play, as well as a pleasant challenge.

I agree with Marcello, Vivaldi, and Eccles. The Capuzzi concerto is a solid first concerto to tackle. There are some nice Telemann sonatas as well. You might like to try Koussevitzky's miniatures before the concerto. I wouldn't recommend any Bottesini or Bach cello suites until you can handle the Koussevitzky concerto.

I agree with Marcello, Vivaldi, and Eccles. The Capuzzi concerto is a solid first concerto to tackle. There are some nice Telemann sonatas as well. You might like to try Koussevitzky's miniatures before the concerto. I wouldn't recommend any Bottesini or Bach cello suites until you can handle the Koussevitzky concerto.

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I've performed the first movement of the Koussevitsky and it went well, I just had to do more work initially on it then I'd like to when I start my next few pieces, if that makes sense. I wasn't able to sightread it really.

I've done a Marcello sonata (though it was a while ago!), and the Eccles. I've heard the Capuzzi and it sounded kind of dull to me, but I will look into some of the Koussevitsky miniatures. I've done some movements from the Bach 2nd Suite as well. I'm kind of looking for something just a step below the Koussevitsky Concerto probably.

I second the recommendation to work on some Baroque sonatas. If you haven't already done so, learn some stuff about Baroque practice. The people who have devoted their lives to this music are very happy to share, and the shift in approach provides an amazing set of challenges. The Vivaldi sonatas in particular lay well on the bass, and focusing on interpretation can lend a certain joy to the music that transcends the perceived "difficulty" of the pieces.

In much of the Baroque rep transcribed for the bass, the notes come easily, but the music takes time, analysis, and context. FWIW, adding this set of challenges to the already treacherous task of Bach-at-pitch explains why the unaccompanied suites are in many ways the ultimate pinacle of our craft.

I agree... Baroque sonatas! Work on something that you will be able to polish well. Builds confidence and great for auditions. Also in opposition to that view, I recommend pieces that have a lot of legato and slow bow practice such as the Faure Elegy.

I second the recommendation to work on some Baroque sonatas. If you haven't already done so, learn some stuff about Baroque practice. The people who have devoted their lives to this music are very happy to share, and the shift in approach provides an amazing set of challenges. The Vivaldi sonatas in particular lay well on the bass, and focusing on interpretation can lend a certain joy to the music that transcends the perceived "difficulty" of the pieces.

In much of the Baroque rep transcribed for the bass, the notes come easily, but the music takes time, analysis, and context. FWIW, adding this set of challenges to the already treacherous task of Bach-at-pitch explains why the unaccompanied suites are in many ways the ultimate pinacle of our craft.

I agree... Baroque sonatas! Work on something that you will be able to polish well. Builds confidence and great for auditions. Also in opposition to that view, I recommend pieces that have a lot of legato and slow bow practice such as the Faure Elegy.

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Thank you so much for the advice about the Baroque pieces - honestly I had avoided Bach as I became very frustrated while learning the Prelude from the 2nd Suite in undergrad - it was difficult to figure out exactly how to interpret that, and I hit a wall with it. That was several years ago, and I've grown very much as a player, so I think I'll look into some of the Vivaldi rep and take it from there, in addition to some of the more modern things that have been suggested in the thread.